SD SCHOOL Online / SDスクール・オンライン

/ スペースダンススクール・オンライン

At Space Dance School, we train the students to learn the essence of space dance and present the results every month to develop them as the artists who can be active throughout the lifetime without being influenced by the trends of the times.

スペースダンススクールでは、 スペースダンスのエッセンスを学び、その成果を毎月発表することを通して、時代の流行に左右されずに生涯にわたり能動的に活動できるアーティストを育成します。

The purpose of Space Dance is to create the design that space dancers need for each person, either alone or through collaboration, with the concept of “Dance & Design“, and Space Dance is not limited to dance world.

スペースダンス の目的は、「ダンス & デザイン」のコンセプトを掲げてスペースダンサーが各人に必要なデザインを、単独で、或いはコラボレーションを通して誕生させることにあり、ダンスの世界だけに閉じることはありせん。

[Promotion Video by Ayumi Toyabe & Tetsuro Fukuhara
/ プロモーションビデオ by 鳥谷部歩美 & 福原哲郎]

Space Dance Workshop 4 Chapters
/ スペースダンスワークショップ 4章

Chapter 1 “Affordance”

The body keeps one unity with the environment, so we can’t handle the body independently. At first, on this chapter, dancers study the way how to handle the body well. Dancers organize their body as the “Object“, not as the subject, then they clear the senses, and they try to get back an amicable relationship between body and space. In this dance, if dancers can feel that they don’t dance alone, the space dance together with them, in that time its dances are successful.



Dancers make a “Most gentle walking in the world” forming the amicable relationship between the feet and the ground. Dancers move the attention back to the memory of the far past and reminisce the moment when the humans realized the “Miracle of the Bipedalism” by two legs, and experience the “Feeling as starting the humans again“. In order to deepen its experience, dancers try to quest, prepare the tools if they feel a necessity, and make a more unique way of walking as a dance.



Dancers don’t consume all energy which flow in the body and dare to select “Little Moving” controlled the dance, then they experience the world of the energy which expand like a snowball, so they never feel tired. And, dancers know the “Hidden Unknown Movement’s World” in dance movements, then they touch the top of dance by the continuation of “Little Moving” and realize “PARADISE, freedom possible all movements in all directions” with a big joy. Dancers touch a climax of dance and get back the “Wildness” lost in our life.


Chapter 4 “FLOWER”

How to do to end our dance? “Everything that starts” has the “End” sure. And on this theme we add one more theme as “Design for the Death” to show how to end our life. How do we want to die? Beyond the end of “Death” we can expect the beginning of “Next Life“. Dancers sit down quietly and lie down, and look back upon the joys and sorrows they have ever experienced, then, as a ritual, and as a “Flower“, they celebrate the beginning and the end, death and rebirth.



My SPACE DANCE / マイスペースダンス

Ayumi Toyabe (Budapest, Hungary)

[My Space Dance 50]

It was interesting to see the changes that occur in my body when I shared space with a tree. This time, there were many moments where I could feel a “connection” even though we were not in direct contact. My body starts to stretch in different directions, then suddenly it starts to shrink. Also, I found myself maintaining the same “shape” for a long time, it felt like a story. This is my 50th time means 50th month since I started making “My Space Dance” so I feel emotional:) I would like to continue to sense, think, and increase my experience with the coexistence of my body and space.

一本の木と空間を共にした時に体に起きる変化は面白い。今回は、直接は触れ合っていないのに、「繋がり」を感じることのできる瞬間が何度もあった。体がさまざまな方向に伸び始めたと思ったら急に縮まってくる。また、気がつけば、長い間同じ「形」を維持していたり、と一つの物語のようだった。「My Space Dance」の制作活動を始めてから今回が50回目、50月目ということで、感慨深いものがある。今後も身体と空間の共存について感じ、考え、経験値をもっともっと上げていきたい。


● Pinar Sinka (Miami, U.S.A.)

[My Space Dance 8]

Video by Bulent Ince
Music by Kai Engel

If I were to glide in the sky like a bird, dancing with the air… If my feet could hear the melody of my wings… And I could rise into infinity, always dancing with the wind…

“Gökyüzünde bir kuş gibi süzülsem, havayla dans etsem… Ayaklarım kanatlarımın melodisini duysa… Ve sonsuzluğa yükselip rüzgarla dans etsem…”


● Mariann Izabella Sarkadi (Budapest, Hungary)

[My Space Dance 2]

From a realistic perspective it can seem that nature is bigger than us, and we are just little creatures, but we can also feel that we make part of it. With the connection of environment we can increase the strength of this unit. Through movement and dance we have the opportunity to nourish ourselves with its energy and create a harmonic flow experience.

Realista szemszögből nézve úgy tűnhet, hogy a természet nagyobb nálunk és mi csak apró teremtmények vagyunk, ezzel párhuzamosan mégis érezzük hogy mi is a részesei vagyunk. A környezetünkkel való kapcsolódással fokozhatjuk az egység erejének megélését. A mozgáson és táncon keresztül lehetőségünk van arra, hogy tápláljuk magunkat a természet energiájából és egy harmonikus áramlást éljünk meg.


● Tetsuro Fukuhara (Kumano, Japan)

[My Space Dance 56]

The most important theme in Space Dance is to treat the intimate relationship between the body and the environment as a “Happiest Feeling” and develop this feeling year by year.



REFERENCE, “Sato” by Ayumi Toyabe
/ 参考作品『郷(Sato)』 by 鳥谷部歩美

[Video / ビデオ; youtube]

When thinking about “What we need for active creation”, I posted “Sato” by Ayumi Toriyabe as a reference work.

When I saw this work for the first time I felt the transparency that overflowed was wonderful, and I was deeply affected by her artist’s sense.

In the 1970s, during the time Laulie Anderson was lionized as a “Bearer for Technology”, on the other side, she said “basically my work is story telling, the world’s most ancient art form” and she was one step away from media and criticisms that emphasized only her technology used. Because she couldn’t find the technology that she needed to express her “Story” around her, so she just created it by herself. It is just like, for example, “Carpenter who could built a very unique beautiful house using the treasured saws and canna” doesn’t say much about “Saws and Canna”. Because the thing to display is the “Work” of the house, not the “Tools” needed for it. The fact that only “Saws and Canna” are talked about is unwilling to the carpenter.

In the same, for the people whose expression of their “Story” is important, there is no need to use “One Tool” if it doesn’t help well to express their “Story”, even if it is a big trend now. There is no reason to be criticized as outdated. It is important to use the technology if they need it and to create their own technology if they don’t find it, rather than being swayed by new technologies that are born one after another.

Also, in the case of “Sato”, as well it is just my imagination, but in fact, I wonder that it uses the latest technologies in this video, like “Headset” is hidden in “Hat”, “Artificial Body” is hidden in “Small Branch”, “Magic Stone” is hidden in “Pebble”, and “Flying Shoes” is hidden in “Shoes”. But, as a “Theme of Sense”, the author handled a situation so that we can see only “Hat, Small Branch, Pebble, and Shoes” on the surface? “Sato” is a very nice work that makes me imagine its scenes.

I believe that for the artists living in the era of over-technology, this sense will be an essencial talent that promises the creativity and evolution as an artist.





『郷(Sato)』の場合も、私の勝手な想像ですが、実は最先端のテクノロジーが使用されていて、この映像に登場する「帽子」の中には「ヘッドセット」が、「小枝」の中には「人工身体」が、「小石」の中には「魔法の原石」が、「くつ」の中には「Flyingシューズ」が、最新テクノロジーとして隠されているのではないか? しかし「センスの問題」として、表向きには「帽子・小枝・小石・くつ」だけが見えるように作者により工夫されているのではないか? 『郷(Sato)』は、私にはそんな想像をさせてくれるとても優れた作品なのです。

テクノロジー過剰の現代を生きるアーティストには、このようなセンスこそ、アーティストとしての独創性と進化を約束してくれる必須の才能であると思います。(tetsuro fukuhara)

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